Editing Metre (music) (section)

==Hypermetre==
<!--[[Hypermeter]] redirects directly here.-->
{{anchor|Hypermeter}}
[[File:Hypermeter.png|thumb|upright=2|Hypermetre: four-beat measure, four-bar hypermeasure, and four-hyperbar verses. Hyperbeats in red.]]
[[File:Waldstein.PNG|thumb|upright=2|Opening of the third movement of Beethoven's [[Piano Sonata No. 21 (Beethoven)|Waldstein sonata]]. The melodic lines in bars 1–4 and 5–8 are (almost) identical, and both form hypermetric spans. The two hyperbeats are the low Cs, in the first and fifth bars of the example.[[File:Waldstein.mid]]]]

Hypermetre is large-scale metre (as opposed to smaller-scale metre). [[Bar (music)#Hypermeasure|Hypermeasures]] consist of [[hyperbeat]]s.{{sfn|Stein|2005|loc=329}} "Hypermeter is metre, with all its inherent characteristics, at the level where bars act as beats".{{sfn|Neal|2000|loc=115}} For example, the four-bar hypermeasures are the prototypical structure for [[country music]], in and against which country songs work.{{sfn|Neal|2000|loc=115}} In some styles, two- and four-bar hypermetres are common.{{cn|date=October 2020}}

The term was coined, together with "hypermeasures", by [[Edward T. Cone|Edward T.]] {{harvtxt|Cone|1968}}, who regarded it as applying to a relatively small scale, conceiving of a still larger kind of gestural "rhythm" imparting a sense of "an extended upbeat followed by its downbeat"{{sfn|Berry and Van Solkema|2013|loc=§5(vi)}} {{harvtxt|London|2012}} contends that in terms of multiple and simultaneous levels of metrical "entrainment" (evenly spaced temporal events "that we internalize and come to expect", p.&nbsp;9), there is no in-principle distinction between metre and hypermetre; instead, they are the same phenomenon occurring at different levels.{{sfn|London|2012|loc=25}}

{{harvtxt|Lee|1985}}{{vn|date=August 2013}} and Middleton have described musical metre in terms of [[deep structure]], using [[generative grammar|generative]] concepts to show how different metres ({{music|time|4|4}}, {{music|time|3|4}}, etc.) generate many different surface rhythms.{{cn|date=October 2020}} For example, the first phrase of [[The Beatles]]' "[[A Hard Day's Night (song)|A Hard Day's Night]]", excluding the [[syncopation]] on "night", may be generated from its metre of {{music|time|4|4}}:{{sfn|Middleton|1990|loc=211}}
:{| class="wikitable"
| colspan="5" align="center" width="33%" |{{music|time|4|4}}
| colspan="2" align="center" width="33%" |{{music|time|4|4}}
| colspan="2" align="center" width="34%" |{{music|time|4|4}}
|-
| align="center" |{{music|time|2|4}}
|colspan=4 align="center"|{{music|time|2|4}}
| align="center" |{{music|time|2|4}}
| align="center" |{{music|time|2|4}}
| align="center" width="17%" |{{music|time|2|4}}
| align="center" width="17%" |{{music|time|2|4}}
|-
|
|colspan=2 align="center"|{{music|time|1|4}}
|colspan=2 align="center"|{{music|time|1|4}}
|
|
|
|
|-
|
| align="center" |{{music|time|1|8}}
| align="center" |{{music|time|1|8}}
| align="center" |{{music|time|1|8}}
| align="center" |{{music|time|1|8}}
|
|
|
|
|-
| align="center" |{{music|halfrest}}
| align="center" |{{music|eighthrest}}
| align="center" |{{music|eighthnote}}
| align="center" |{{music|eighthnote}}
| align="center" |{{music|eighthnote}}
| align="center" |{{music|halfnote}}
| align="center" |{{music|halfnote}}
| align="center" |{{music|halfnote}}
|
|-
|
|
| align="center" |It's
| align="center" |been
| align="center" |a
| align="center" |hard
| align="center" |day's
| align="center" |night...
| [[File:A Hard Day's Night opening phrase.mid|120px]]
|}
The syncopation may then be added, moving "night" forward one eighth note, and the first phrase is generated.{{citation needed|date=October 2020}}